Over the years, Kenyan presidents have often been compared in their leadership styles, policies, and even their approaches to education.
One surprising similarity between former President Uhuru Kenyatta and his successor, President William Ruto, is their shared enthusiasm for school drama festivals—though their involvement has sparked mixed reactions.
Both Uhuru and Ruto have publicly endorsed school drama competitions, recognizing them as platforms for nurturing talent and promoting national values.
During Uhuru’s tenure, the Kenya National Drama Festivals received state sponsorship, with the former president occasionally attending finals and even awarding top performers.
Similarly, Ruto has maintained this tradition, emphasizing the importance of creative arts in education. In 2023, his administration increased funding for drama festivals, arguing that they help instill discipline and patriotism among students.
However, critics argue that both leaders have used school drama for political messaging and advanced
The recent case, ‘Echoes of War’, the controversial play by Butere Girls High School, delves into themes of bad governance, blatant disregard for the law, and the widening gap between the youth and the older generation.
The powerful presentation by the Kakamega-based school challenges the status quo and sheds light on the deep divides in society.
“There exists a natural balance between respect for the old and care for the young. Those who are old bring experience while those who are young bring enthusiasm and creative innovation. This is the relationship that weaves together our ever-evolving society. This is Echoes of War,” reads the synopsis of the play.Under Uhuru, some winning plays subtly echoed government agendas, such as national unity and anti-corruption themes. Ruto’s administration has also been accused of influencing performances, with recent winning pieces aligning with his “Bottom-Up” economic narrative.
Yet, some teachers and artists worry that excessive state interest could turn the festivals into propaganda tools rather than genuine creative outlets.
Whether seen as patrons of the arts or political influencers, Uhuru and Ruto share a common approach to school drama—active participation with a hint of controversy. As Kenya’s drama festivals continue to thrive, the debate over their role in shaping young minds remains unresolved.
In ‘Echoes of War’, the drama begins when the Sultan, the royal ruler of this fictional Middle Eastern kingdom, decides to silence Mustafa after learning he’s been using his social media platforms to call out bad governance.
Anifa and other youth used the power of AI and social media to call on the youth to stand up against the tyranny. The kingdom bulged in fury and the streets swell with unrest.
In the protests, they termed the ‘Echoes of War’ to be against religious leaders who chain modern minds refusing to let the youth explore the possibilities of a new world.
The war in the play was against parents who continue to cling on the rigid ways, a war against a society that has termed the young generation as rotten.
They declared the war was against anyone who stood in the way of the youth, vowing to liberate their generation at any cost.
The fury in the play was so intense that it reduced government institutions to ashes, leaving the kingdom in chaos.
At one point, there was no ambulance available to rush the Sultan’s son, Xavier, to the hospital.
In the end, the Sultan, humbled and defeated, swallowed his pride. He called the youth to the table, incorporating their voices and expertise into the running of his administration.
“Never again shall we dance to the echoes of war,” the Sultan proclaimed…. and in unison, the youth shouted back their resolute response.
“The war is over.” A declaration that echoed through the kingdom, signaling the end of an era of conflict and the beginning of a new chapter: one where the youth’s voices are no longer silenced, but heard and respected.
